I was in Group Four for the Antigone short play we performed in class. Through
the process of creating this production, we had to make several crucial decisions that impacted how everything turned out. Many of these things involved how we would represent each character. We made decisions based on how each character was feeling in that moment and what caused them to feel that way in the previous scene. We made many vital choices that brought our whole performance together.
First, we decided on music, for we thought it was vital to add emotion to the
production. We decided on Lily’s Theme from “The Deathly Hallows” when Antigone and Ismene have dialogue. Then we decided on playing The Imperial March song from “Star Wars” when Creon enters.
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When Haemon and Creon have their argument, we chose to play Heroes from “The Avengers”. Lastly, to add as much effect to the performance as possible, we are playing a hard core song called The Tunnel from “The Deathly Hallows”. Another critical decision we had to make was what costumes we would wear. I am playing three characters in this performance so I had to decide something that I could switch out of quickly and still look believable.
I decided on a pink toga and crown for Ismene, a ragged patterned draped shawl for the chorus, and a policemen hat for the guard. For Antigone, she will wear a brown toga and a blue flower crown because of her outdoorsy character. Creon and Haemon will look quite regal with gold crowns and some sort of draped toga. Creon, being the most powerful character, will wear the biggest crown to show the audience his importance.
We also had to decide on what to do for the set. We will build a jail cell for
Antigone to have the dialogue with the guard in, which will be built out of scarves and chairs. We will have some sort of barrier built out of furniture as well, for the two opposite arches.
We then worked on our emotion to finish it off. We decided that Antigone would
be sweet and innocent through most of it until she talks to the guard at the very end. Creon will be angered most of the time while Haemon’s anger gradually grows. Ismene will be more confident than she would normally be, to show that she is ready to be brave. The guard is simply going to be manly and fierce in his dialogue. Lastly, we added stage directions and lights to bring it all together and we
finished!
In Antigone, character foils help the play by creating well-rounded characters. Many traits of Antigone and Creon, the two main characters, would be impossible to notice without the contrast of their character foils. Ismene and Haemon act as foils to Antigone and Creon, respectively. By juxtaposing these pairs against each other, we gain more insight on the play’s plot, themes, characters, and character relationships.
Antigone remains a static character at stage five throughout the story. Faced with people who do not agree with her decision, Antigone stands tall with what is morally right to her. Kohlberg’s Theory is not only universal but also helps readers understand a character morally. Choosing whether or not to bury her brother, Polyneices, or to follow the law given by Creon, does not derail her moral
The film adaptation of Sophocles’ Antigone portrays the text substantially well in several ways. The filmmaker’s interpretation encourages the audience to be discerning as their perception of the Greek tragedy is enhanced. The play becomes profound and reverberant because of the many interesting elements of production. These include musical score, set design, and the strategic costuming – all of which advocates an improved comprehension of Antigone.
...ho in this modern day situation would be the President or Governor, and makes all of the laws governing business owners, makes his move against Antigone and the others including his own son Haemon. Creon wants to keep everything in order and wants to keep up his positive political image. Finally, Ismene the other sister, she is very compassionate about her brother but does not go as far as Antigone. She stays back just enough to conform to the laws of Creon, because she does not want to get into trouble and possible exiled and put to death just like Antigone. When Ismene finds out that someone is trying to sneak into her restaurant, she does not want to put them off just yet. She waits a little bit longer than gives the final “no”. Ismene will do everything she can to be on the good side of the law.
Designing the Set for William Shakespeare' s Romeo and Juliet I am going to look at each scene in which Romeo and Juliet appear
The purpose of this short essay is to justify Antigone’s position during the story and to conduct an analysis from the other readings to defend my interpretation. I will take in consideration the similarities and differences of all three other readings Civil Disobedience, Machiavelli and Socrates.
Polynices, however, is not done. He goes to Argos and recruits an army to take Thebes. The plan backfires though and Eteocles and Polynices end up killing each other, and the army is driven off. With no male heir to the throne, Creon, Oedipus' brother, takes the throne. This may be a lot for one person to handle, but Antigone's grief has just begun.
A key factor in the power of her speech is Antigone’s consideration for her audiences. The first of these audiences is Creon the king of Thebes. Creon is receiving this argument as an explanation for Antigone’s defiance of his law. Creon’s statement, “And yet you dared defy the law,” evokes this response, in which Antigone says, “Your edict, King, was strong,” (“Antigone” 1035 Line 56-59). This confirms that her argument is directed towards the king. The second audience is the people of Thebes. In the play, the chorus represents the citizens of Thebes. They are almost always present when the king speaks, and this scene is no exception. Anitgone forms her argument to appeal to the thoughts and emotions of the citizens.
Justice is a word we hear today all the time. Left and right we hear of judges and citizens demanding justice. Is justice always the right way? It seems that justice is not always the correct solution to a problem, but a solution that is the easiest to make. The classic play Antigone is a perfect example of this. Antigone is classic tragedy at its finest. A simple civilized and humane right of burying a loved one is turned into a great loss. Creon’s inapt decision to hold his power and sentence Antigone to death causes him to lose the people he loves most. The “justice” of the play is simply Creon’s punishment for his cruelty to Antigone.
Antigone believes that a woman should be intrepid and strong, even at the risk of challenging men’s authority. When she proposes to bury Polynices, Ismene answers, “we’re not born to contend with men”. (75) Antigone’s response, “that death will be a glory” (86), does not directly address gender issues, but it expresses her fury at Ismene’s passivity. After the burial of Polynices, Antigone defiantly states, “I did it. I don’t deny a thing,” while being interrogated by Creon (492) and later comments that she was “not ashamed for a moment, not to honor my brother”. (572-3) Antigone’s gallant speech and defiance toward traditional gender identities audaciously shows her revolutionary desire for gender equality.
From her tenacity and personal strength in defying the law to her tragic death, Antigone captures the audience’s pity and sympathy. She is the tragic hero.
...lty. A new Creon is reborn in the eyes of the audience. He is the victim of ironic fate.
Later in the conversation the reader learns that Antigone has a plan to bury here brother Polynices and that she wants Ismene to help her. Ismene is scared to do this because the new king, Creon, has issued a decree that says that any person that attempts to bury the body will be sentenced to death. The fact that Antigone is going to attempt to bury the body creates fear in the reader. They are fearful as to what will happen to
..., this sense of arrogance angers Creon to a point beyond belief. Antigone’s refusal to cooperate causes Creon to go mad with irritation and frustration. Wanting to show his sense of power, he refuses to back down in fear of losing his position. His stubbornness grows stronger as Antigone continues to disobey his commands. Antigone’s strong and steady foundation helps her show defiance. She is able to overcome the opinions of the people and commit to helping her brother regardless of the after effects. She ignores what everyone says and does only as she wants. She is powerful, both physically and mentally, and is successful in her tasks. Antigone matures into a commendable and respectable character in which she depicts her rebelliousness and bravery, pride and tolerance, and sense of moral righteousness to demonstrate fundamental character development in the play.
Ultimately, I find that Antigone is a play that can be interpreted in many different ways. Through the examination of characters, events and scholarly arguments I have attempted to show that the catalyst for Antigone’s tragic end stems from the edict of Creon, an edict that as a ruler he is within his rights to make – but which Sophocles ultimately forces Creon to acknowledge as wrong. However, whilst the actions and events leading up to this event cause Antigone to disregard the law in order to pay burial rites to her brother, her treatment of Creon and acceptance of her fate must show that she herself accounts for a decent share in the responsibility for her own death.